- Complete Monster: Fujiyama is the ruthless leader of the Katana crime syndicate. In his attempts to take over the Los Angeles underworld, Fujiyama orders the assassination of a rival gang boss. When Joe Marshall gets his attention by investigating a drug run some of his goons are doing, he declares war on the cop, sending many of his own men to their deaths due to his "Code of Silence" forbidding them from being taken alive. In his feud, Fujiyama has one of Marshall's fellow cops killed along with his wife, the latter of whom was also sexually assaulted, and another one tortured with boiling oil. In the final battle, Fujiyama tricks our hero into letting his guard down, and tries to kill him along with his partner and his Love Interest.
- Corpsing: In one scene where Frank is being chewed out by Da Chief for encouraging him to hire Joe, Frank decides to kiss his bosses' head and runs off where Capt. Rohmer threatens them, then the scene continues where it seems the editor fell asleep and the actor who plays the Captain starts laughing and then sits back down and closes his eyes as if he's ready to do another take of that same scene.Kevin: I love those motherfuckers!
- Evil Is Sexy: Bai Ling in the sequel.
- Funny Moments: The delivery really sells this.Joe: Why did you come under?
Frank: 'Cause I'm an undercover cop.
- Moral Event Horizon: Yamashita crosses it when he kills Johnson's wife, who is an entirely innocent woman.
- Narm: It'd be easier to list the scenes in this film that don't have Narm. Special mention goes to the big America speech from Joe, the infamous horny nurse scene, the car chase and practically every word out of Fujiyama's badly-dubbed mouth.
- So Bad, It's Good: The main reason why this film is still remembered to this day.
- Special Effect Failure: All over the place, due to the film's cheapness, but there are some standout examples:
- In the early car chase scene, Peggy is riding in a helicopter that is very obviously just sitting on the ground with its propellers off (with a Hitler Cam being used to try and disguise this fact).
- In the same sequence, when the cars round a bend in a dirt road, we're treated to a brief closeup of Joe quickly turning the wheel... or at least pretending he is. His hands slide energetically along the steering wheel, but it doesn't actually turn.
- Weirdly inverted when Joe has a brief shootout with a mook at Fujiyama's house - In this one scene, various objects are inadvertently destroyed by bullets, whereas Stray Shots Strike Nothing in every other gunfight throughout the film.
- And then there are the countless scenes where lighting/coloring/overall looks of a scene wildly change from shot to shot, due to all the sloppy reshoots and overall incompetence. It's like the shootouts take place between entirely different planes of reality.
- Speaking of reshoots, Joe is very clearly wearing a wig in large parts of the movie (with one shot leaving in the Blooper of Okamura accidentally ripping the wig off of Joe's head). This is because the actor thought the movie was finished and cut his hair short, only to be told that there was still half the movie to shoot.
- Several characters shown as having died are seen in close-ups where the actors' chests are obviously moving, the production being too cheap to even use dummies for shots of corpses.
- Many of the close-ups in the dialogue scenes are clearly in different locations. One notable example is the 'sons of bitches' speech in the diner - Joe's closeups are clearly in a different location from the diner.
- The director had to ADR but could not get many of the actors to return. He instead dubbed many of the lines himself and warped it in post-production to try to make it sound different. His lack of ability to do this correctly resulted in ADR with a heavily robotic sound.
YMMV / Samurai Cop